3.
DESIGN
PROFESSIONALS
can use this guide
as a reference
manual.
it as a reference
manual to support
students in their
learning
process.
Due to its complexity, designing requires a structured and
systematic approach, as well as moments of heightened
creativity. In this guide, you will find 11 perspectives on what
design can do, 6 models that describe how design happens, 12
approaches that describe a comprehensive process for design
that spans across phases, and around 68 purposeful and goaloriented design methods. Some are unique to Delft, but many are more
commonly known and widely used. They are all described in a practical
one-page text, with illustrations and reading suggestions.
UNIVERSITY OF TECHNOLOGY / FACULTY OF INDUSTRIAL DESIGN ENGINEERING
PER S PECTIVES - MODELS - APPROACHES - METHODS
  

THE DELFT DESIGN GUIDE SERVES THREE GOALS
PER S PECTIVES - MODELS
APPROACHES - METHODS
use it as a reference
manual in their design
projects, managing
their personal
development.
The Delft Design Guide presents an overview of design perspectives,
models, approaches, and design methods used in the Bachelor
2.
and Master curriculum at the faculty of Industrial Design
DESIGN
Engineering in Delft.
TUTORS can use
DELFT DESIGN GUIDE
1.
DESIGN
STUDENTS can
DELFT
DESIGN
GUIDE
PREFACE
The Delft Design Guide originated from the need for a more comprehensive overview, deeper
insight, and stronger assistance in choosing and understanding the right perspective while
establishing the design goal, understanding theoretical models, and selecting appropriate
approaches and methods that help with the actual development of products, services, and
other manifestations of a creative process. We are truly pleased to know that the book is
now used in many different places around the world, both in the educational institutions
and in practice. The book has also helped in shaping a common image and language that
contributes to the Delft design culture that has found its way around the world through this
book. Additionally, the graphic design and layout of the book helped to make it an inspiring
and accessible reference work, and for this we thank Yvo Zijlstra of Antenna-Men. As a result,
the Delft Design Guide is currently used in various design disciplines and at different schools
around the world. Thanks to one of our Chinese alumni, the Delft Design Guide has even been
published in Chinese since 2014. Since 2015, there is also a Japanese version.
This is a completely revised Delft Design Guide. Like the first edition, published in 2013, this
book once again offers a collection of perspectives, models, approaches, and methods that
are used in the design education at TU Delft. The book offers a toolbox, an important asset
for designers and it offers insight into the distinct Delft Design Thinking. We are proud that
the Delft Design Guide is a project of co-creation and the result of a bottom-up approach, in
which we created the content together with our many colleagues.
Our field is rapidly changing; after six years, we deemed that the time was ripe for a comprehensive review and renewal. The integration model of People, Technology, and Organisation is
still central. The discipline is shifting from a focus on mostly physical products and individual
users to a zoomed-out level in which products and individuals are part of a larger system.
Non-physical designs, such as in services, and indirect users also play a role in that larger
system. There is also more attention to the effect of design on people, the environment,
and society: the raison d’être of design. Design therefore becomes increasingly complex and
requires new or adapted working methods.
Microcosm diagram of the mind designed by physician Robert Fludd, beginning 17th century;
below an exploded view of a modular smartphone, beginning 21st century.
The new Delft Design Guide distinguishes itself from the previous edition on several points.
First, more than one-third of this book consists of new content and pages. Second, this
book is organised into a clearer structure with distinctive categories (perspectives, models,
approaches, and methods). Third, some topics have been removed, whereas others have been
merged. Finally, all subjects are improved and enriched with the ‘mindset’ component that
explains the underlying values and principles.
We wish everyone good luck and an enjoyable learning experience with the new Delft Design
Guide!
Editors
Annemiek van Boeijen
Jaap Daalhuizen
Jelle Zijlstra
9
DELFT DESIGN GUIDE
PERSPECTIVES - MODELS - APPROACHES - METHODS
ORGANISATION
INTRODUCTION
METHODS: DISCOVER
5
Introduction
Foreword
9
Preface
10 Acknowledgements
11 Table of Contents
12 A Guide to the Delft
Design Guide
---------------------------------------
83
METHODS: DEVELOP
& DELIVER
7
85
161
PERSPECTIVES
Design for Health & Wellbeing
Design for Sustainability
23 Design for Behavioural Change
25 Design for Emotion
27 Design for the Majority
29 Culture-Sensitive Design
31 Speculative Design
33 More-Than-Human Design
35 Skilful Co-design
37 Visualising Interactions
39 Design Drawing as a Language
--------------------------------------19
PEOPLE
21
TECHNOLOGY
DELFT UNIVERSITY OF TECHNOLOGY
FACULTY OF INDUSTRIAL DESIGN ENGINEERING
MODELS
Reasoning in design
45 Basic Design Cycle
47 Product Innovation Process
49 Agile Design & Development
51 Integrated Creative Problem
Solving
53 Needs and Aspirations for
Design & Innovation
--------------------------------------43
ACKNOWLEDGMENTS This book could not have been written without the contributions and expertise,
inspiration, and skills of design researchers and design educators and the support of the faculty
management team. Our special thanks go to the contributors of this book who all worked as staff members,
former staff members or students in the faculty of Industrial Design Engineering in Delft. The editors hope
that the book will justify their dedicated work. Cheers!
Aadjan van der Helm, Anton Jellema, Arjen Jansen, Armaĝan Albayrak, Arnold Vermeeren, Bas Flipsen,
Bert Deen, Carlos Cardoso, Chen Hao, Chèr van Slobbe, Conny Bakker, Corné Quartel, Corrie van der Lelie,
Dirk Snelders, Elif Ozcan Vieira, Ellis van den Hende, Elisa Giaccardi, Elmer van Grondelle, Elvin Karana,
Ena Voûte, Erik Jan Hultink, Erik Roscam Abbing, Esther Zijtregtop, Frido Smulders, Froukje Sleeswijk
Visser, Gerd Kortuem, Gert Pasman, Gert Hans Berghuis, Giulia Calabretta, Ingrid de Pauw, Jan Buijs (in
memoriam), Jan Schoormans, Jan Willem Hoftijzer, Jasper van Kuijk, Jeroen van Erp, Johan Molenbroek,
Joost Vogtländer, Jos Kraal, Lilian Henze, Lianne Simonse, Katrina Heijne, Koos Eissen, Maaike Kleinsmann,
Marc Tassoul, Marcel Crul, Marieke Sonneveld, Marielle Creusen, Marina Bos-De Vos, Mathieu Gielen,
Matthijs van Dijk, Mieke van der Bijl-Brouwer, Nazli Cila, Nancy Bocken, Norbert Roozenburg, Nynke Tromp,
Paul Hekkert, Peter Vink, Petra Badke-Schaub, Pieter Desmet, Pieter Jan Stappers, Pinar Cankurtaran,
Remco Timmer, Remke Klapwijk, Renee Wever, Richard Goosens, Roos van der Schoor, Roy Bendor,
Ruud Balkenende, Sicco Santema, Stefan van de Geer, Stella Boess, Sylvia Mooij, Thomasz Jaskiewicz,
Valentijn Visch, Wilfred van der Vegte, Wouter Kersten, Wouter van der Hoog, Students of the master
course Design Theory Methodology 2018-2019
APPROACHES
57
59
61
63
65
67
69
71
73
75
77
79
User-Centred Design
Social Implication Design
Co-design & Co-creation
Anthropometric Design
Vision in (Product) Design
Context Variation by Design
Service Design
Persuasive Game Design
Lean Start-up
Material Driven Design
Data-Centric Design
Design Roadmapping
Contextmapping
Thing Ethnography
87
Cultural Probes
89
User Observations
91
Interviews
93
Questionnaires
95
Focus Groups
97
Ecodesign Strategy Wheel
99
Ecodesign Checklist
101 Fast Track Life Cycle Analysis
103 SWOT & Search Areas
105 Trend Foresight
107 Brand DNA
109 WWWWWH
111 Design Drawing to Discover
---------------------------------------
METHODS: DEFINE
115
117
119
121
123
125
127
129
131
133
135
137
139
141
143
145
147
149
151
153
155
157
Persona
Cultura
Problem Definition
Function Analysis
Product Life Cycle
List of Requirements
Mind Mapping
Journey Mapping
Product Journey Mapping
Project Value Modelling
Business Modelling
Sustainable Business
Modelling
Future Visioning
Ansoff Growth Matrix
Segmentation-TargetingPositioning
VRIO Analysis
Porter’s Five Forces
Perceptual Map
Collage
Storyboarding
Written Scenario
Design Drawing to Define
Analogies & Metaphors
Biomimicry
165 Synectics
167 Brainstorming & Brainwriting
169 Braindrawing
171 Morphological Chart
173 SCAMPER
175 How-Tos
177 Harris Profile
179 EVR Decision Matrix
181 C-Box
183 vALUe, IR & PMI
185 Datum Method
187 Weighted Objectives
189 Storytelling
191 Usage Analytics
193 Comfort Evaluation
195 PrEmo & Photo-Elicitation
197 Role-Playing
199 Product Usability Evaluation
201 Product Concept Evaluation
203 Cost Price Estimation
205 Prototype Reflection Cards
207 Cinematic Prototyping
209 Design Drawing to Develop
211 Experience Prototyping
213 Wizard of Oz
215 Design Drawing to Deliver
217 3D Physical Models
219 Technical Documentation
- - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - 163
FINALE
222
224
Index
Colophon
11
A guide to the
Delft Design Guide
You have the completely revised and extended Delft Design Guide in your hands. This
guide is meant for everyone that is - or aspires to be - a designer. It should help you to
understand how a designer thinks, what a designer does and how this is done, the Delft
way. The diversity of perspectives and methodologies presented in this guide shows that
design is a rich field with many applications and a network of ways of working and tools
to use. The Delft Design Guide offers you a set of perspectives, models, approaches, and
methods that serve four distinct purposes.
First, to help you to diverge or converge in your
design project in a structured way, identifying and
selecting options to solve your design challenges.
Second, to help you determine what information
and knowledge to find and use to allow you to
make decisions and progress the design process.
Third, to document and communicate a way of
working that helps others to participate and
collaborate with you. Finally, to develop yourself as
a designer with a strong identity and rich toolbox
to tackle the challenges ahead!
BUILD A MINDSET
The domains and application areas that design
contributes to are becoming increasingly complex
and turbulent. For example, designing interventions
that help bring about positive change in the
healthcare system, or that change our relationship
with the climate are immensely complex and
require skills, creativity and thoughtful actions,
and productive collaboration. The content of this
book can help you in achieving impact, yet it is
not enough on its own. Much of what is needed
is embedded in the culture and values of our
faculty, the missions of the design challenges
we collectively work on, and can be identified in
the principles of our way of working. In these we
can see a strong common denominator that is
what makes up the Delft designer. For example,
we believe in being human-centric and evidencebased. We also believe in iteration and co-creation.
Methodology provides the building blocks, yet you
and the people working with design need to build
a design mindset to bring these together into
effective and meaningful ways of working. This
is why we have added a section on mindset to
each method in this new edition. These mindsets
help you understand how and why a method can
contribute to achieving a certain goal. Your first
priority however, should always be to succeed
in solving your design challenge and to have
maximum impact for your cause.
BE REFLECTIVE
We see design as a goal-directed discipline aimed
at creating change. This is not a new idea: Nobel
Laureate Herbert Simon already wrote in 1996 in
his book The Sciences of the Artificial: ‘To design
is to devise courses of action aimed at changing
existing situations into preferred ones’. Design
is inherently uncertain and this can be traced
back to the core elements in Simon’s definition.
Designers explore new and sometimes untrodden
territories when they ask: what would be a
preferred situation? They discover and define
opportunities for innovation and improvement.
They ask what would be meaningful and valuable
for people in their context and dare to take a
stance to steer innovation. Designers challenge
the way tasks or problems are framed and
formulated when they ask what is problematic
about the existing situation? They will keep
asking questions until they find root causes
and core values that form the starting point for
good design. Designers facilitate and drive the
development of design solutions that can realise
the preferred situation when they ask: what
courses of action will best realise the preferred
situation and who should I involve to make it
happen? They make ideas and visions tangible
13
17
PERSPECTIVES
--------------------------------------------------------------------------------
‘Let us get used
to looking at the
world through the
eyes of others.’
B RUNO MUNARI
Perspectives are descriptive in nature.
That is, a perspective focuses on specific
intended effects and qualities to strive for
when doing design. For example, Design for
Sustainability describes the intended effect
of the design and explains its importance.
Many perspectives are linked to an approach
and/or one or more methods that help to
achieve the desired effect when doing design.
-------------------------------------------------------------------------------19
21
23
25
27
29
31
33
35
37
39
Design for Health & Wellbeing
Design for Sustainability
Design for Behavioural Change
Design for Emotion
Design for the Majority
Culture-Sensitive Design
Speculative Design
More-Than-Human Design
Skilful Co-design
Visualising Interactions
Design Drawing as a Language
PERSPECTIVES
More-Than-Human Design
More-Than-Human Design considers the knowledge and behaviour
of non-human entities – from plants to animals to intelligent
things – and it aims to craft new capacities for meaning and
action at the intersection of humans and non-humans.
The Māori tribes in New Zealand do not consider themselves masters of the universe but part of it. They fought a 140 year-long
legal battle to grant the Whanganui River the same legal rights as a human being. They finally won the case in 2017 meaning
that it would be treated as a living entity, as an indivisible whole, instead of treating it from the perspective of ownership and
management. That perspective is not an anti-development, or anti-economic use of the river but one that begins with the view
that a river is a living being, and then consider its future from that central belief. (wickimedia commons)
1850
1900
1950
WORLD ECONOMIC GROWTH
2000
1850
1900
1950
2000
EXTINSION OF SPECIES
Graphs of economic growth are deeply political. They simplify and exclude a more troubling and complex
reality. Apart from a few hiccups we’ve been moving upwards over the past hundred years. Moving up to
no idea where. When seen against another graph, but this time that of species which have gone extinct
in the same period, one realizes that this kind of progress can only be celebrated as a victory in isolation.
(source: University of Idaho)
TIPS & CONCERNS
The development of a design
sensitivity to non-human scales
and types of knowledge is a
major challenge for designers
using a More-Than-Human
perspective.
WHAT & WHY? Through design, we are transforming the planet to meet user needs
and desires. While it is reasonable to assume a beneficial intent to design, the
-------consequences of design are not always positive and such consequences can range
For example, what does it mean
from climate change to resource depletion to surveillance capitalism. A more-thanto access the knowledge of
human perspective acknowledges that humans are more than users: they are part
a river that has existed and
of an ecosystem. Within this ecosystem, it is not exclusively humans who act and
has played a role in a specific
produce effects; in fact, plants, animals, and intelligent things can create new
context for hundreds of years?
possibilities too.
What are the boundaries of the
investigation? How can we map
-------------------------------------------------------------------------------------------------------------insights in a way that they can
MINDSET: More-Than-Human Design promotes the idea that to explore the
futures we might face, we need to inquire what happens when we step out of
be discussed in multi­d isciplinary
an anthropocentric view of the world. Such an inquiry is necessary not because
teams?
humans matter less but that society has largely become a sphere that threatens
-------inclusion, diversity, and well-being due to the design ideal that humans are users of
Develop skills for recognising,
products to be consumed.
understanding, and making
palpable the potential discom-------------------------------------------------------------------------------------------------------------and possibly challenging human blind
fort, tension, and compromise
HOW? With a More-Than-Human Design
spots and biases, specifically at the
approach, you can experiment with ways
that is required to forge new
to access and include the knowledge and intersection of the data and trajectories
alliances with non-human entities
behaviour of non-human entities in design that non-humans give access to and
in design. How can animals be
work. In doing so, the method contributes the theoretically informed analysis that
enlisted as participants without
humans bring to it.
to the development of a next generation
being harmed? What data can be
An example in this guide is the Thing
of co-design methods. Non-human
collected and used with respect
Ethnography approach, which can be
perspectives are the ‘views’ of plants,
to people’s privacy?
applied when designing connected
animals, or intelligent things, namely
--------------------------------------products that can sense data, exchange
what they can ‘see’ and contribute to
LIMITATIONS
them, and autonomously act upon the
the understanding of a context. Such
Our understanding is inherently
data across decentralised computational
perspectives are usually included in the
limited by what we humans
design process by means of multispecies networks. The aim of the method is to
know regarding the actions
ethnography and science and technology map the interdependencies of a product
and behaviour of living and
studies, and this can be realised with the ecosystem and its potential societal
computational organisms. We can
impact. However, the methods in this
aid of intelligent cameras, computational
gather a lot from a More-Thanguide that are originally developed for
or bio-based sensors, and algorithms. It
Human perspective, but this kind
human-centred design could be extended
should be noted that this is not about
of consideration concerning the
to explore and articulate the knowledge
how to see like a pigeon and how to
impact of design on the interplay
and behaviour of animals, plants, and
empathise with the pigeon. It is about
between human and non-human
intelligent things as well.
critically enhancing, complicating,
systems is far from trivial.
--------------------------------------------------------------------------------------------------------------------------------------------------------------REFERENCES & FURTHER READING: Clarke, R., Heitlinger, S., Light, A., Forlano, L., Foth, M., & DiSalvo, C., 2019. More-Than-Human Participation:
Design for Sustainable Smart City Futures. Interactions26 (3), 60-63. / DiSalvo C., & Lukens, J., 2011. Nonanthropocentrism and the Nonhuman in
Design: Possibilities for Designing New Forms of Engagement with and through Technology. In M. Foth, L. Forlano, C. Satchell, & M. Gibbs (Eds.). From
Social Butterfly to Engaged Citizen. Cambridge, MA: MIT Press. / Giaccardi, E. & Redström, J., Technology and More-than-Human Design. Design Issues.
33
41
MODELS
--------------------------------------------------------------------------------
‘Have no fear of
perfection -- you’ll
never reach it.’
SALVA DOR DALI
Models are descriptive in nature. That
is, they describe how design happens.
For example, the Basic Design Cycle
describes how designers fundamentally
think while designing. A model offers a
generic description of design activity,
often in a non-normative manner.
-------------------------------------------------------------------------------43
45
47
49
51
53
Reasoning in Design
Basic Design Cycle
Product Innovation Process
Agile Design & Development
Integrated Creative Problem
Solving
Needs and Aspirations for
Design & Innovation
MODELS
Basic Design Cycle
VALUES
NEEDS
FUNCTIONS
The Basic Design Cycle is a model that represents the fundamental
reasoning steps in the process of designing. It consists of a sequence
of conscious reasoning steps that are repeated in empirical cycles.
The knowledge of both the problem and the solution increases with
each cycle.
Analyse
5.
APPROVED
DESIGN
Iterate
1.
Decide
CRITERIA
4.
VALUE OF THE
DESIGN
Synthesise
Evaluate
2.
PROVISIONAL
DESIGN
Simulate
3.
EXPECTED
PROPERTIES
The basic building block of the design process is this circle of thought, action and decision. Designing is like a
fractal: zooming in or out results in a similar image. Designing is an iterative process where you sometimes have
to take a few steps back – ‘back to the drawing board!’ – in order to go a step forward later on. Being aware of
the basic cycle that you are going through, up to a few times per minute, helps you as a designer to organise your
thoughts and design activities. (After Roozenburg and Eekels, 1995)
TIPS & CONCERNS
Do not confuse the five
reasoning steps with the
phases of a design process.
The Basic Design Cycle
is a model describing the
fundamental reasoning
steps and their relative
WHAT & WHY? The model describes the different basic reasoning steps a designer goes
through when solving a design problem purposefully and consciously. Theoretically, you
logical order, which happen
can go through only a single cycle, but you usually perform many cycles across the various
throughout any conscious,
phases of any design process. The basic design cycle consists of five reasoning steps
goal-directed design
that are logically connected. Novice or naïve designers often tend to ‘jump’ over some of
process.
the steps, which might harm the quality of the design outcome. For example, one might
---------immediately ‘jump to solutions’ when presented with a design brief, without thoroughly
This means that there is
analysing the problem. This reasoning might result in a design that does not address the
not one phase in which you
actual problem. Ideally, you spiral from problem to solution, from abstract to concrete, and
synthesise, but that you
from function to product geometry. This process is usually iterative, in which you sometimes
must engage in synthesis
have to take a few steps back – ‘back to the drawing board!’ – to go a step forward later
throughout the design
on. You might also enter into the cycle at different steps, as long as you complete the cycle
process.
each time. Being aware of the basic cycle that you are going through on different resolution
---------levels – from a cycle within the time span of a minute to cycles that span several weeks –
When you ‘get lost’ in your
helps you to organise your thoughts and design activities.
ideas and thoughts, you
might find it helpful to
-------------------------------------------------------------------------------------------------------------------consider which step of the
MINDSET: The Basic Design Cycle represents a fundamental cycle of reasoning that is
inherent in conscious, purposeful design problem solving. This means that a designer who
basic cycle you are in and
desires to do so needs to critically reflect on how his or her own thinking corresponds to
identify which reasoning
basic reasoning logic.
steps you might have
missed that might get you
-------------------------------------------------------------------------------------------------------------------back on track.
HOW? The model describes five reasoning
(elements of) design proposals. Simulation
steps, each with its own purpose. As
yields representations either in your mind
---------mentioned, these steps can happen, for
or externalised with which you can evaluate
Discussion with others
example, in a span of a few seconds or
their potential value.
often helps in effectively
over a period of weeks depending on the
doing these reflections.
---------------resolution level you take.
Evaluate: In this step, you reason about
----------------------------the potential value of design proposals
LIMITATIONS
---------------through their simulated representation.
‘Analyse’ is the first step in
Analyse: In this step, you examine the
This happens in relation to design criteria.
aspects related to your design goal or a
this model, and this might
design problem. Overall, analytical reasoning Evaluation produces an understanding of
suggest that it should also
the current value of (an element of) your
yields information that informs your design
be your point of departure.
design proposal and informs design making.
criteria and eventually the requirements.
However, that step is not
necessarily your preferred
------------------------------Decide: In this step, you reason about the
point for starting your
Synthesise: In this step, you generate posrelative value of (an element of) your design
sible solutions. Synthesis yields (elements
design cycle.
proposal and you decide on how to proceed.
of) design proposals that potentially offer
---------valuable (parts of) solutions to the problem. Decision making informs the next cycles of
Depending on your
design: whether to repeat a cycle, proceed
preference, you can enter
---------------to (an element of) your design proposal, or
into the cycle at different
Simulate: In this step, you create imagined,
focus on other elements instead.
digital, or physical representations of
points.
--------------------------------------------------------------------------------------------------------------------------------------------------------------REFERENCES & FURTHER READING: Roozenburg, N.F.M. & Eekels, J., 1995. Product Design: Fundamentals and Methods. Chichester: John
Wiley & Sons. / Roozenburg, N.F.M. & Eekels, J., 1998. Product Ontwerpen: Structuur en Methoden. 2nd ed. Utrecht: Lemma.
45
APPROACHES
-------------------------------------------------------------------------------------
‘Your work
isn’t a high stakes,
nail-biting professional
challenge. It’s a form
of play. Lighten up and
have fun with it.’
SOL LE WIT T
Approaches are prescriptive in nature. That is,
they describe ways for how to go about a design
activity. An approach offers a comprehensive
process for design that spans across phases.
Many approaches are linked in turn to a set of
methods and tools that are appropriate to use in
combination, for example, because they adhere
to the same mindset as the overall approach.
-------------------------------------------------------------------------------------57
59
61
63
65
67
69
71
73
75
77
79
User-Centred Design
Social Implication Design
Co-design & Co-creation
Anthropometric Design
Vision in (Product) Design
Context Variation by Design
Service Design
Persuasive Game Design
Lean Start-up
Material Driven Design
Data-Centric Design
Design Roadmapping
55
APPROACHES
Anthropometric Design
Anthropometric Design is an approach to be used through the
design process to ensure the optimal fit of products to the people
using them. Doing so will help you to design and make decisions
on adjustability, size, and shape throughout the design process.
The myth of designing for the ‘average’ person - since there are no people whose body dimensions are all at the 50th percentile. Body
dimensions aren’t linearly correlated so people with short arms don’t necessarily have short legs. While the use of the 5th and 95th percentiles
on one body dimension may exclude 10% of the population, the use of these on 13 dimensions actually can exclude 52% of the population.
TIPS & CONCERNS
It is important to mention that the
size, weight, and shape of the population in the world is continuously
changing (secular trends) due to
ageing, lack of nutrition, overeating,
WHAT & WHY? The interior of a car, a train seat, an office chair, safety equipment, or a or sedentary lifestyle.
hand tool, should accommodate the variation in shape and size of the targeted users.
-------As the average user in terms of size, weight and shape doesn’t exist, designers need
Why not design for P0.1–P99.9? The
to gain insight into the variation within their target group with the help of statistical
standard use of P5–P95 to define
measures such as percentiles and correlations between different body measurements. your target group will lead to the
Using scientific databases that include anthropometric information requires
exclusion of 10% of the population
demographics about the users, such as birthday, age, and gender, because human size,
per anthropometric variable.
weight, and shape widely vary across populations. You also need to determine which
-------anthropometric parameters are relevant for the design at hand. Therefore, you need to
The closer the product needs to fit
study the interaction between the human body and the product and describe how users on the body, the more important
will handle the product, in what postures, and which movements they possibly will make. the knowledge about shape
becomes. 3D scan data can be of
-----------------------------------------------------------------------------------------------------------great help.
MINDSET: Be aware of your user group and be aware of who will be excluded by
certain design decisions. Children are very different from adults and so are people
-------who are disabled in any type or form. An important principle is to always aim to
Some industries have developed
design for all within your user group; to practice inclusive design. On the other hand, advanced software representations
a personalised design or a design made for a very limited user group might prove
of humans (Digital Human Models).
to be useful for a larger group of users. For example, an easy-to-open jar lid that is
------------------------------------------specifically designed for the elderley is easy to open for all. Such a well thought-out LIMITATIONS
design strategy facilitates the comfortable, safe, and efficient use of products.
Many modern products and
systems integrate both physical
-----------------------------------------------------------------------------------------------------------and non-physical elements such as
WHEN? Anthropometric data can be used in different stages of the design process,
preferably right from the discovery phase because this ensures an optimal outcome,
services and digital interfaces, for
instead of trying to adjust the design at the end of the design process.
which additional data are needed.
--------------------------------------------------------------------------------------------------------------------------------------------------------------HOW? First the future user group is defined. Then decide
whether a product should be one-size-fits-all, have a size
system, be made adjustable, or be fully personalised.
Depending if the additional costs and complexity are worth
the gain in ergonomics. The method involves 5 steps:
--------
Step 1: Define the target population, taking into account
demographic variables as well as relevant abilities
and disabilities. Describe the context of use: posture,
movements, and sequence of movements; socio-cultural
influences; artefacts (clothing, tools, equipment) and
physical environment. Observing how similar products are
used can be very helpful in this stage.
measurements for the missing data; otherwise, make
estimations (based on the correlation between known
variables).
--------
Step 3: When all the data have been collected, add
allowances for worn garments and use of tools and
equipment For example, stature +20mm for shoe sole
thickness.
--------
Step 4: Establish the anthropometric design guidelines.
Prototypes are needed to evaluate the fit, comfort, force
exertion, interaction during short use or prolonged use, and
interaction with the environment while using the tool.
--------
--------
Step 2: Search for anthropometric data, for example, in the
DINED database (dined.nl) or scientific papers. Consider
representativeness (demographic variables), precision, and
presentation type (1D, 2D, 3D). If no data are available,
determine whether there is time and budget to perform
Step 5: The use of statistics and databases is a
simplification of the reality; the proper evaluation of the
final concept based on a mock-up is necessary. This process
is often iterative, and a fifth step to search for additional
anthropometric data could be necessary.
--------------------------------------------------------------------------------------------------------------------------------------------------------------REFERENCES & FURTHER READING: Jellema, A., Galloin, E., Massé, B., Ruiter, I., Molenbroek, J., & Huysmans, T., 2019, 3D Anthropometry
In Ergonomic Product Design Education. In I. Whitfield (Ed.), In proceedings of the 21th International Conference on Engineering and Product
Design Education, Glasgow. / Lee, W., Molenbroek, J., Goto, L., Jellema, A., Song, Y., & Goossens, R., 2019. Application of 3D scanning in
design education. In S. Scataglini, & G. Paul (Eds.), DHM and Posturography, (1st ed., pp. 721-731). Academic Press. / Robinette, K. & Hudson,
J., 2006. Anthropometry. In G. Salvendi (Ed), Handbook of Human Factors and Ergonomics (3rd ed, pp. 322-339). John Wiley & Sons, Inc. /
Verwulgen, S., Lacko, D., Vleugels, J., Vaes, K., Danckaers, F., De Bruyne, G., & Huysmans, T., 2018. A new data structure and workflow for
using 3D anthropometry in the design of wearable products. International Journal of Industrial Ergonomics, 64, pp. 108-117.
63
METHODS
DISCOVER
--------------------------------------------------------------------------------
‘A bird is an
instrument working
according to mathematical
law, which instrument it is
within the capacity of men
to reproduce with all it’s
movements.’
L EO NARDO DA VINCI
A method offers a specific process for a design
activity that is predominantly used within a
specific phase of design. In this guide, these
methods are categorised into the phases of
a design process. However, many methods
can be used in several phases, and an overlap
occurs in practice. The methods in this section
help you to discover, explore, analyse, and
understand your design domain.
-------------------------------------------------------------------------------83
85
87
89
91
93
95
97
99
101
103
105
107
109
111
Contextmapping
Thing Ethnography
Cultural Probes
User Observations
Interviews
Questionnaires
Focus Groups
Ecodesign Strategy Wheel
Ecodesign Checklist
Fast Track Life Cycle Analysis
SWOT & Search Areas
Trend Foresight
Brand DNA
WWWWWH
Design Drawing to Discover
81
METHODS: DISCOVER
Fast Track Life Cycle Analysis
A Fast Track Life Cycle Analysis (Fast Track LCA) is a method for
determining the total eco-burden of a product, service, or productservice system over its entire life cycle. A Fast Track LCA can be
carried out when there is a limited amount of time.
Ocean Plastic® produces a range of premium materials for the sports, fashion and luxury industries made from intercepted
and upcycled marine plastic debris. These materials replace virgin materials and allow for the implementation of a long-term
strategy: Avoid, Intercept, Redesign
Each model is a simplification of a complex reality and as with all simplifications this means that the reality will be distorted in some
way. The challenge for an LCA practitioner is to develop the model in such a way that the simplifications and distortions do not
influence the results too much. The best way to deal with this problem is to carefully define the goal and scope of the LCA study.
COFFEE BEANS
ALUMINIUM
STEEL
PLASTICS
ALUMINIUM
COPPER
ROASTING &
PROCESSING
FORMING CUPS
FORMING
INJECTION
MOULDING
CASTING
FORMING
COFFEE CUPS
ASSEMBLY
PACKAGING
TRANSPORT
TRANSPORT
ELECTRICITY
USE
WATER
RECYCLING
CUPS
LANDFILL
CUPS
RECYCLING
THE MACHINE
LANDFILL
MACHINE
WASTE INCL.
PACKAGING
With the Idemat Light app you can make a simple LCA calculation according to the Fast Track method, using the data
and the selection method. You can open an LCA, and add materials and processes to it with the required quantities. You
can even calculate the eco-costs of products with an Environmental Declaration. (idematapp.com)
TIPS & CONCERNS:
Doing a Fast Track LCA is a
modelling exercise. As with
the saying ‘garbage in equals
garbage out’, the same applies
for LCA. Make sure you
WHAT & WHY? The Fast Track LCA can give you a thorough and quantitative grasp of your know how an LCA works and
design’s environmental impact. This method is a powerful predictor of the environmental
understand the significance of
impact of different solutions. It helps you to:
the outcomes.
• Find the environmental ‘hotspots’ of a product and lower its overall environmental burden.
----------• Compare different design and service solutions and thus make a substantiated choice
You can also make an LCA
for the product-service system design with the lowest environmental burden.
from cradle-to-gate where only
• Explore both the possibilities for making use of certain materials (such as recycled or
the production of the product
renewable materials) and other sustainable options along the product life cycle.
is taken into account. This is
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - when the product does not
MINDSET: Fast Track LCA is a very powerful tool for determining a product’s
require any resources during
environmental impact, but it needs to be used with caution. If you do not understand the
the use phase.
scientific background of LCAs, you may misinterpret their outcomes, which can lead to
----------misleading or wrong conclusions. Conducting an LCA requires an analytical mindset and
It should always be combined
a willingness to ‘sweat the details’.
with end-of-life data, since
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - that has an important impact
WHEN? You can use Fast Track LCA in the beginning of the Develop stage or earlier
on the total eco-burden of a
when analysing existing products.
product life cycle.
-------------------------------------------------------------------------------------------------------------------- ----------product service system. Collect data such
HOW? You can express the eco-burden
If elements are missing, you
as the weight and material use, energy and
– emissions, materials depletion, and
need to make an educated
resources consumed during use. Determine
land use – in terms of a single-impact
guess by using comparable
indicator using the Idemat database (www. the accuracy and relevance, and establish
materials or production
allocation rules and cut-off criteria.
ecocostsvalue.com), which includes over
processes or find data from
----------6000 materials and processes. These
scientific literature. Never
Step 5: Quantify the transport involved
tables make LCA comparable to normal
leave out a material because
for the components or for the complete
cost calculations; it is then a matter of
of missing data.
product to be assembled and shipped to
adding up the eco-burden.
-----------------------------------the consumer. Determine the routes and
----------LIMITATIONS:
means of transport involved 1. for the
Step 1: Establish the scope and the goal of
Fast Track LCA is helpful when
components to the assembly factory; 2. for assessing mature products.
your analysis.
the assembled product to the distribution
----------New and emerging products
centre,; and 3. for the product’s ‘last mile’
Step 2: Establish a functional unit. Describe
and processes may be more
to the consumer.
the main function or functionality of the
difficult to assess because of
product-service and a metric to measure this - - - - - - - - - - a lack of data.
Step 6: Calculate the total impact, the
functionality of the product-service. Validate
----------distribution of the impact over the different
your metric by evaluating the current
An LCA’s complexity is difficult
life cycle phases (material, production,
solution and an out-of-the-box solution.
to communicate, which may
transport, use, and end-of-life), and the
----------lead to an oversimplification
distribution of impact over the different
Step 3: Establish the system and the
of the results. LCA does not
components or material groups.
system boundaries by describing which part
consider rebound and other
----------of the life cycle is taken into account.
social effects.
Step 7: Interpret the results. Which parts
--------------------of the life cycle are dominant in terms
Step 4: Quantify the materials, and when
LCA should be applied
of eco-burden? How can you lower the
applicable, quantify the use of energy or
throughout the design process
eco-burden most effectively?
other resources during the use phase of the
rather than at the end.
--------------------------------------------------------------------------------------------------------------------------------------------------------------REFERENCES & FURTHER READING: European Commission, Joint Research Centre, Institute for Environment and Sustainability 2010.
International Reference Life Cycle Data System Handbook: General guide for Life Cycle Assessment - Detailed Guidance. 1st ed. Luxembourg:
Publications Office of the European Union. / ISO, 2006. ISO 14044 Environmental Management – Life cycle assessment – Principles and
framework. 2nd ed. Geneva: ISO. / ISO, 2006. ISO 14044 Environmental Management – Life cycle assessment – Requirements and guidelines.
Geneva: ISO.
101
METHODS
DEFINE
--------------------------------------------------------------------------------
‘Mirrors would
do well to reflect a
little more before
sending back
images.’
JE A N COCKT E A U
The methods in this section help you to define
and articulate a design problem, direction or
goal. For example, the Persona method helps
you to structure and communicate insights into
your intended users and define the user group
that you want to represent and empathise with
during the remainder of a design project.
-------------------------------------------------------------------------------115 Persona
117
119
121
123
125
127
129
131
133
135
137
139
141
143
145
147
149
151
153
155
157
Cultura
Problem Definition
Function Analysis
Product Life Cycle
List of Requirements
Mind Mapping
Journey Mapping
Product Journey Mapping
Project Value Modelling
Business Modelling
Sustainable Business Modelling
Future Visioning
Ansoff Growth Matrix
Segmentation-Targeting-Positioning
VRIO Analysis
Porter’s Five Forces
Perceptual Map
Collage
Storyboarding
Written Scenario
Design Drawing to Define
113
METHODS: DEFINE
KEY PARTNERS
KEY ACTIVITIES
VALUE PROPOSITION
•
•
•
•
• delivering
packages on
bicycles
• maintenance
• acquisition
• administration
• planning
• saving the
customer’s time
by offering an
ecofriendly, fast,
cost-effective and
reliable bicycle
courier service
• taking care of:
internal mail, PO-box
delivery, express
delivery and one-day
service
bicycle shop
sponsors
webprovider
mobile phone
provider
KEY RESOURCES
•
•
•
•
•
•
•
•
•
workspace
personnel
smartphones
website
laptops
bicycles (+ trailers)
bags
cycling clothes
good physical
condition
COST STRUCTURE
•
•
•
•
Workspace
personnel
bicycles + equipment
insurance
CUSTOMER
RELATIONSHIPS
CUSTOMER
SEGMENTS
•
•
•
•
•
• anyone who needs
packages and
letters (max. 1 x
0.5 x 0.5 m and
up to 50 kg) to be
delivered quickly
within a 15 km
radius.
face-to-face
telephone
e-mail
newsletter,
website
CHANNELS
•
•
•
•
•
Mouth-to-mouth
(social) media
telephone
pay online
couriers
REVENUE STREAMS
•
•
•
•
maintenance
laptops
smartphones
website
• paying customers
• shirt sponsoring
Example of a business model canvas filled in for a bicycle courier service. (After Osterwalder & Pigneur, 2010)
Business Modelling
Business Modelling is a method for developing the reason to exist of
our designs from a business point of view. The Business Model Canvas
serves as a checklist to generate business ideas; it also structures,
discusses, and evaluates these ideas on a conceptual level.
WHAT & WHY? Business Modelling enables you to see the economic relevance and context of
the product or service that you are developing: What exactly is the added value of the product
or service and for whom and how can you generate a revenue?
--------------------------------------------------------------------------------------------------------------------MINDSET: Business Modelling requires both an analytical and creative mindset, as well as
an interest in how organisations ‘get things done’. Discussion with other stakeholders,
prioritisation, and reflection are needed to fill in the blank spots.
--------------------------------------------------------------------------------------------------------------------WHEN? Business Modelling with the Business Model Canvas as a tool can be used in
various stages of the development process. In the idea generation phase, it can help you
in completing ideas or in evaluating them. The same goes for the conceptual phase where
you need to choose between several business concepts: Which concept can be expected
to generate the required turnover or profit? Which concept will strengthen the company’s
competitive position? Making a perfectly detailed lamp might be your dream as a designer,
but if it turns out to be affordable for a handful of buyers only, it might not make a lot of
sense from a business point of view, even if it has a high profit margin.
--------------------------------------------------------------------------------------------------------------------HOW? The canvas, divided into nine areas,
Group 3 – Customers (external):
supports the method. Each area should
be defined, and the relationship between
these areas can be described using arrows
and drawings. Preferably, the template
should be printed on a large sheet of
paper (minimum A3) so you can work on it
with a team in a brainstorm-type setting.
This stimulates analysis, discussion, and
creativity in the group.
These nine key elements of the canvas
should finally be ‘aligned’ so that you
can create a well-defined product-service
proposal, though not necessarily in this
order. The nine key elements can be
structured in four clusters:
• Customer segments
• Customer Relationship
• Channels:
- Awareness: How do we raise awareness
about our company’s products and
services?
- Evaluation: How do we help customers
evaluate our company’s Value
Proposition?
- Purchase: How do we allow customers to
purchase specific products and services?
- Delivery: How do we deliver the product
or service to customers?
- After sales: How do we provide postpurchase customer support?
-----------
-----------
Group 1 – Offering (reason to exist):
What do you offer and how is that
different from the offers of competitors?
• Value Propositions
-----------
Group 4 – Finances (input-output):
What are the major costs and how are
they covered?
• Cost Structure
• Revenue Streams
Group 2 – Infrastructure (internal):
What tasks and assets are important to
deliver your Value Proposition?
• Key Activities
• Key Resources
• Key Partners
In a further stage, the external context of
the business idea can be drawn up around
the Canvas and more Canvases can be
drafted to communicate the development
of the new business over time.
TIPS & CONCERNS
Postpone criticism. New
ideas and approaches
should be welcomed, and if
needed, adapt them in order
to improve them.
----------If an idea is not realistic,
change it. Or add a new
idea to make it realistic.
Often the trick is to
turn the problem into a
possibility.
----------When a business concept
is chosen for further
elaboration, draw a more
detailed business plan.
----------This method focuses on
the economic interest of
organisations. You can also
use it to identify social and
environmental interests by
adding categories to the
canvas that you think are
relevant, such as societal- or
the environmental costs and
benefits.
------------------------------LIMITATIONS
Compared to a classic
business plan, this Business
Modelling method using
the canvas represents a
more conceptual level of
thinking about new business
development.
----------Ensure that the order and
magnitude of the numbers
are realistic enough.
This could be a first step
in working out several
business ideas.
----------Do not try to put in exact
numbers, such as the
estimated turnover or
running costs.
--------------------------------------------------------------------------------------------------------------------------------------------------------------REFERENCES & FURTHER READING: Osterwalder, A. & Pigneur, Y., 2010. Business Model Generation. New Jersey: John Wiley & Sons Inc.
135
METHODS
DEVELOP
& DELIVER
--------------------------------------------------------------------------------
‘It is
important to
use your hands, that
is what distinguishes
you from a cow or a
computer operator.’
PAUL RA ND
The methods in this section help you to
develop ideas and concepts and deliver them
to stakeholders. For example, Brainstorming
is a well-known method for generating ideas
and weighted objectives to select ideas or
concepts. Several methods for evaluating
designs are available. For example, PrEmo
assists in the evaluation of the emotional
effect of a design.
-------------------------------------------------------------------------------161
163
165
167
169
171
173
175
177
179
181
183
185
187
189
191
193
195
197
199
201
203
205
207
209
211
213
215
217
219
Analogies & Metaphors
Biomimicry
Synectics
Brainstorming & Brainwriting
Braindrawing
Morphological Chart
SCAMPER
How-Tos
Harris Profile
EVR Decision Matrix
C-Box
vALUe, IR & PMI
Datum Method
Weighted Objectives
Storytelling
Usage Analytics
Comfort Evaluation
PrEmo & Photo-Elicitation
Role-Playing
Product Usability Evaluation
Product Concept Evaluation
Cost Price Estimation
Prototype Reflection Cards
Cinematic Prototyping
Design Drawing to Develop
Experience Prototyping
Wizard of Oz
Design Drawing to Deliver
3D Physical Models
Technical Documentation
159
METHODS: DEVELOP AND DELIVER
Morphological Chart
The Morphological Chart helps designers generate solutions in an
analytical and systematic way. It is based on the deconstruction of the
overall function of a product or service into sub-functions.
Morphology is the study of the evolution of form. Morphology originates from the biological study of animals and
their functional body parts. In the design process it is used to deconstruct an overall function in sub-functions and
to generate innovative combinations.
SUPPORT KART
4 wheels A
4 wheels B
3 wheels A
3 wheels B
3 wheels C
Direct drive
Chain drive
Belt drive
Drive shaft
Crankshaft
Tire breaks
Feet
Parachute
SUB-FUNCTIONS
PUT KART INTO MOTION
STOP KART
Disk brakes
Rim breaks
Anchor
CONTROL DIRECTION
Central axis
Ackermann
SUPPORT DRIVER’S BODY
Saddle
Chair
Plank
Cloth
Example of of a morphological chart for a pedal kart. In the left column the main functions are listed.
On the right for each function all possible solutions are listed. The most promising combinations are
selected to be used as starting points for further development.
TIPS & CONCERNS
A 10 x 10 matrix yields
10,000,000,000 solutions! To
limit the number of options,
analyse the rows critically
WHAT & WHY? The Morphological Chart is a matrix of sub-functions and solutions – also
and group the solutions
referred to as parameters and components. While functions are abstract, solutions are
together before making the
concrete, but they do not need to have a definite shape or size yet. The matrix enables to
combinations.
describe possible principal solutions by combining solutions for each sub-function.
----------------------------------------------------------------------------------------------------------------------------------Use the design requirements
MINDSET: Similar to methods such as Problem Definition, this approach is rather analytic,
to rank the solutions per
in that the deconstruction requires you to have a systematic and analytical way of working.
sub-function in order of first
Solutions for sub-functions need idea generation, so you also need a creative and free minds
and second preference.
for this process.
----------------------------------------------------------------------------------------------------------------------------------Group the sub-functions
WHEN? The Morphological Chart is useful at the beginning of the idea generation phase after in groups of decreasing
some ideas have been sketched. A Function Analysis is used as a starting point to break
importance. At first only
down the overall product function into sub-functions. In most cases, a number of solutions
evaluate the most important
to these sub-functions are already known, while others still need to be generated.
ones.
----------------------------------------------------------------------------------------------------------------------------------Step 4: Fill the rows with solutions for a
HOW? Start with a well-defined main function
Choose one or more
particular parameter. Solutions can be found
of the product or service and its sub-functions.
combinations of solutions for
by analysing similar products or by thinking up evaluation.
These describe all the product characteristics
new principles for these sub-functions. Use
needed to fulfill its function. Express these
----------evaluation strategies to limit the number of
by an active verb and a measurable noun. For
Draw all the solutions or
principal solutions.
example, a teapot: receives water; it contains
components when you develop
----------tea, and allows for holding and pouring tea
an idea or design proposal.
Step 5: Create solutions by combining one
in a cup. In a Morphological Chart, functions
----------solution per row for each sub-function.
and sub-functions are independent and have
Challenge yourself by making
----------no reference to material features. Through a
counterintuitive combinations
Step 6: Carefully analyse and evaluate
careful selection and combination of a set of
of solutions.
all solutions with regard to the design
solutions, a ‘principal solution’ is formed.
------------------------------requirements, and choose at least three
----------LIMITATIONS
principal solutions.
Step 1: Formulate the main function of the
This method is initially
----------product or service.
developed for design problems
Step 7: Sketch possible ideas for the whole
----------in the field of engineering
product based on each solution.
Step 2: Identify all the functions and subdesign, but can also be
----------functions that are needed in the solution.
applied to other design
Step 8: Elaborate on a selection of the ideas
----------problems.
by turning them into design proposals with
Step 3: Construct a matrix with these sub----------more detail. For services, use methods such
functions as rows. For example, in designing
For service design, you need
as roadmapping and scenarios to further detail to have a very clear goal and
a pedal cart, its sub-functions could be:
the best service ideas.
put cart into motion; stop cart; control the
a main function. Otherwise
direction and support the driver’s body.
use less systematic methods.
--------------------------------------------------------------------------------------------------------------------------------------------------------------REFERENCES & FURTHER READING: Heijne, K.G. & van der Meer, J.D., 2019. Road map for creative problem solving techniques. Organizing
and facilitating group sessions.Amsterdam: Boom / Roozenburg, N.F.M. & Eekels, J., 1995. Product Design: Fundamentals and Methods. Utrecht:
Lemma. / Cross, N., 1989. Engineering Design Methods. Chichester: Wiley. / Steen, M. Manschot, M. & Koning, N. (2011) Benefits of co-design in
service design projects, International Journal of Design, Vol. 5(2) August 2011
171
3.
DESIGN
PROFESSIONALS
can use this guide
as a reference
manual.
it as a reference
manual to support
students in their
learning
process.
Due to its complexity, designing requires a structured and
systematic approach, as well as moments of heightened
creativity. In this guide, you will find 11 perspectives on what
design can do, 6 models that describe how design happens, 12
approaches that describe a comprehensive process for design
that spans across phases, and around 68 purposeful and goaloriented design methods. Some are unique to Delft, but many are more
commonly known and widely used. They are all described in a practical
one-page text, with illustrations and reading suggestions.
UNIVERSITY OF TECHNOLOGY / FACULTY OF INDUSTRIAL DESIGN ENGINEERING
PER S PECTIVES - MODELS - APPROACHES - METHODS
  

THE DELFT DESIGN GUIDE SERVES THREE GOALS
PER S PECTIVES - MODELS
APPROACHES - METHODS
use it as a reference
manual in their design
projects, managing
their personal
development.
The Delft Design Guide presents an overview of design perspectives,
models, approaches, and design methods used in the Bachelor
2.
and Master curriculum at the faculty of Industrial Design
DESIGN
Engineering in Delft.
TUTORS can use
DELFT DESIGN GUIDE
1.
DESIGN
STUDENTS can
DELFT
DESIGN
GUIDE